In the Studio

October 02, 2012, 8:25am

In the Studio: The Process of a Painting with Aurélien Couput

The topic of visibility and invisibility is something I am really drawn to in art – what an artist chooses to make visible or invisible is a theme that I find to be fascinating, densely packed, and layered.

Aurélien Couput’s (NAP #99) painting Enola Gay falls in this category.  As the title suggests, the subject of his work is the Boeing B-29 bomber used to bomb Hiroshima.  However, Couput eliminates the object, central focus, and namesake altogether, shifting the subject of his work to the aftereffects brought on by Enola Gay.

August 27, 2012, 8:20am

In the Studio: The Process of a Painting with Jave Gakumei Yoshimoto

Jave Gakumei Yoshimoto’s (NAP #99 & 102) recent work "Baptism of Concrete Estuary" was massive in size and massively received.

After the 2011 Tohoku earthquake and tsunami in Japan, Yoshimoto began working on a scroll painting to highlight the destruction and devastation the country faced.  What began as a small endeavor, however, grew to be a 30 foot long scroll painting that also acted as a fundraiser for building an art center in Japan in the wake of nature’s destruction.

June 19, 2012, 8:25am

In the Studio: The Process of a Painting with Mark Schoening

Mark Schoening (NAP #97) is a contemporary LA-based artist who creates large-scale, detail-packed, process-heavy paintings. His work has evolved over time, moving from similarly detailed black and white mixed media canvases to these bright, geometrically based, perfectly balanced, and meticulously finished matte pieces.

September 07, 2011, 9:30am

Fabrications with Jen Pack (NAP #73)

Jen Pack (NAP #73) deconstructs, reconstructs, sews, and stretches fabric onto frames and into large masses in a way that creates something at once familiar and yet also new.  Her works resonate with viewers and remind them of a variety of other arts and images, creating a kind of cyclical “trialogue” – a dialogue between artist, art, viewer, and back.

From her nuanced and detailed stretched chiffon pieces to her large installation work with kite-like nylon, Pack’s work is both moving and provoking, aesthetically and mentally. – Ellen Caldwell, LA Contributor